Exchanged. 



Price, 15 Cents. 



OER'S UNIVERSAL STAGE. 



No. 54. 






BOUQUET. 

PS b35 
.Z9W&9-8 

A Q@OTt@dMt&» In @n® Act. 



ADAPTED FROM THE FRENCH 



BY J.O A. WOODWARD. 



BOSTON: 
CHARLES H. SPENCER, 

149 Washington Street. 



SPENCER'S UNIVERSAL STAGE; 

A Collection of Comedies, Dramas, and Farces, adapted to either 
Public or Prirate Performance. Containing a full description of all the 
necessary Stage Business. (No Flays exchanged.) 

Price IB Cents 33a. oli. 



Ne.l. 

« 8. 

** s. 

" 4. 
«* 9. 

u 4. 

« 7. 

•* «. 

M § . 

- 10. 

M 11. 



LOST HI LONDON. A Drama 
in Three Aott. A Male, 4 Female 
characters. 

NICHOLAS FLAM. A Come- 
dy in Two Acts. By J.B. Back- 
stone, ft Male, S Female char. 

THIWELSH6IBL, A Com- 
edy in One Act. ByMrs.Planehe. 
8 Male, 8 Female char. 

JOHN WOPPft. A Faroe In 
One Act. By W. S. Snter. 4 
Male, 3 Female char. 

TBS TURKISH BATH. A 
Farce In One Act. By Montague 
Williams and F. C. Bornand. ft 
Male, 1 Female char. 

THE TWO PUDDIFOOTS. 
A Faroe In One Act. Br J. M. 
Morton. 3 Male, 8 Female char. 

OLD HONESTT. A Comic 
Drama In Two Acta. By J. M. 
Morton. 6 Male, 8 Female char. 

two qentllmeu hi a 

FIX. A Faroe In One Aot. By 
W.E. Snter. 2 Male char. 

SMASHINOTON GOIT. A 
Faroe In One Act. By T. J. Wil- 
liams. 5 Male, 3 Female char. 

TWO HEADS BETTER 
THAN OWE. A Faroe In One 
Act. By Lenox Home. 4 Male, 

1 Female char. 
JOHNDOBBS. A Farce in One 

Aot. By J. M. Morton, ft Male, 

2 Female char. 

THE DAUGHTER OF THE 
REUIMRJVT. A Drama in 
Two Acts. By Edward Fitaball. 
6 Male, 2 Female ohar. 

AUNT CHARLOTTE'S 
MAID. A Faroe in One Act. 
By J. M. Morton. 8 Male, 8 Fe- 
male ohar. 

BROTHER BILL AND ME. 
A Faroe in One Aot. By W. Jfi. 
Buter. 4 Male, 3 Female ohar. 

DONE ON BOTH SIDES. 
A Faroe in One Aot. By J. M. 
Morton. 3 Male, 2 Female ohar. 

DUNDUCKRTTY'S PICNIC. 
A Faroe in One Aot. By T.J. 
« Male, 3 Female eh. 



No. 17. I'VE WRITTEN TO 
BROWNE. A Farce in One 
Aot. By T. J. Williams. 4 Male, 
8 Female ohar. 
" 18. LENDING A HAND. A Faroe 
in One Act. By Q. A. A'Booke- 
ket. 3 Male, 2 Female char. 

" 18. MY PRECIOUS BETSY. A 

Faroe in One Aot. By J. M. 

Morton. 4 Male, 4 Female eh. 
" 80. MY TURN NEXT. A Faroe 

in One Act. By T. J. Williams. 

4 Male, 3 Female char. 
" 81. NINE POINTS OF THE 

LAW. A Comedy in One Aot. 

Bj Tom Taylor. 4 Male, 3 Fe- 
male ohar. 
« 88. THE PHANTOM BREAK- 
FAST. A Faroe in One Act. 

By Charles flelby. 8 Male, 2 Fe- 
male char. 
" 88. DANDELIONS DODOES. 

A Faroe in One Act. By T. J. 

Williams. 4 Male, 2 Female 

char. 
'* 84. A SLICE OF LUCK. A Faroe 

in One Aot. By J. M. Morton. 

4 Male, 2 Female ohar. 
« 8*. ALWAYS INTENDED. A 

Comedy in One Act. By Horace 

Wigan. 8 Male, 3 Female ohar. 
«' 2S. A BULL IN A CHINA 

SHOP. A Comedy in Two 

Acts. By Charles Matthews. 

6 Male, 4 Female char, 
'< 87. ANOTHER GLASS. A Drama 

in one Aot. By Thomas Morton. 

6 Male, 3 Female ohar. 
*« 88. BOWLED OUT. A Farce in 

One Act. By H. T. Crayon. 4 

Male, 3 Female char. 
** 28. COUSIN TOM. A Comedietta 

in One Act. By George Roberts. 

8 Male, 2 Female ohar. 
•< 80. SARAH'S YOUNG MAN. A 

Farce in One Act. By W. R. 

Snter. 3 Male, 3 Female char. 
" 81. HIT HIM. HE HAS NO 

FRIENDS. A Faroe in One 

Act. By R. Yates and N. H. 

Harrington, T Male, 8 Female 



L 



BOUQUET. 



& (g>mmt&lttta f 

IN ONE ACT. 



ADAPTED FROM THE FRENCH, 



/ 

J. A. WOODWARD. 



BOSTON: 

CHARLES H. SPENCER, Agent, 
149 Washington Street. 



Mm 






£ .& 



BOUQUET. 



CHARACTERS. 

Paul Gaillard. 
Bicoquet. 
Jennie Gaillard. 
Pauline. 



Scene laid in Paris. 
Time. — The present. 



Entered, according to Act of Congress, in the year 1871, by 

Charles H. Spencer, Agent, 

In the Office of the Librarian of Congress, at Washington. 



TMP92-007644 



BOUQUET. 



SCENE. Elegant Salon in Gaillard's house. — Doors c. and at 
r. 1 e. — Door at l. 3 e. — Window r. — Fireplace and mantel 
l. at back. — Piano l. 1 e. — Oval centre-table centre of stage. — 
Two chairs. — Work-table r., and sofa near. — Bookcase l. 2 e. 

Jennie discovered seated at piano. — Gaillard preparing to go out. 

Gaillard (to himself, seeking what he needs). My coat, my hat, 
my umbrella — my handkerchief. 

Jennie (sighing). Go, then, if you must. 

Gail. Now you must know that if it were not absolutely neces- 
sary 

Jennie. Pm not sure of it at all — but that makes no difference. 
I am sure that you've not passed a single evening at home for a 
week. 

Gail. Not one ? 

Jennie. Not one ! And you never take me anywhere ; and I'm 
dying to see the new play at the theatre. 

Gail. We'll go next week. 

Jennie (wearily). Ah! 

Gail. Now do be sensible, and try to understand me. The money 
market — the financial situation — I am obliged to be continually on 
the alert, or else 

Jennie. I can't see why the money market should take you to the 
opera every evening. 

Gail. Yes ! I go to hear the rumors and news, in order to profit 
by it to gain money enough to lavish on my little wife. 

Jennie. What I'm going to ask you for won't require much money. 
On your way down town please buy me a bouquet — a pretty bouquet. 
Will you remember it? 

Gail. Indeed I will. Bye, bye, Jennie dear. 



4 BOUQUET. 

Jennie. Shall you return late? 

Gail. No; about half past ten or eleven — as usual. Bye, bye, 
dear! {Crosses towards door, c.) 

Jennie. Bye, bye. Don't forget my bouquet. 

Gail, (exit door, c). Yes — a bouquet! a pretty, large bouquet. 

Jennie (rising and crossing r.). What a trouble it must be for 
him to have a little wife — like myself — and to leave her here for a 
week — all alone. I know that it's to earn money, so that I can 
have all I wish, as he says — and really I have a great deal — but I 
should like more. (Sits near table and takes needle-work.) I must 
think of some way to pass the evening. It's a long time till eleven 
o'clock. O, Penelope ! Penelope ! (Leaves her work and takes 
newspaper.) What could Penelope have read when she was tired 
of work. (Glances at paper.) Where was I? (Reading.) " Mons. 
Legrand was desperate ! The policeman tore his hair." (Violent 
ringing.) Who's that? I don't expect any one. It's Paul! doubt- 
less he has forgotten something. 

Enter Pauline, c. 

Pauline. Madame ! 

Jennie. Well? 

Pauline. It's a young man, madame. 

Jennie. A young man ? 

Bicoquet (passes his head into door, c, and trying to attract Pau- 
line's attention). Here*! I say! young woman! here! 

Pauline. Sir? 

Bic. (stage whisper). Don't say a young man — say a man still 
young — that is more exact. 

Jennie. But, sir 

Bic. A thousand pardons, madame. I only showed myself to cor- 
rect a mistake. I know very well that until madame has said 
" Admit the gentleman," I ought to remain here in the passage. I 
return, madame — I return. (Disappears.) 

Jennie (rising). What is the gentleman's name? Did he give his 
name? 

Pauline. His name? 

Bic. (reappearing — to Pauline, as before). Here, you, the card. 

Jennie. Again ? 

Bic. A thousand pardons, madame ! She forgets that I have given 
her my card. I have shown myself to recall it to her. I return, 
madame — I return. (Disappears.) 

Pauline. Yes, madame, here is his card. (Gives card.) 

Jennie (^reading card). "Jules Bicoquet." I don't know him at 
all. 

Bic. (reappearing, impatiently). Tell her what I told you. 
(Disappears. ) 

Pauline (to B.). I was going to tell her in a moment. (To Jen- 
nie.) This gentleman said that he called about a very urgent matter 
which particularly interested madame. 



Bic. {opening door, without showing himself). And which will 
not admit of a moment's delay. (Shuts door.) 

Jennie. What can this mean? I must attend to it. Show the 
gentleman in. 

Pauline opens door, and signals to B. to enter. 

Bic. (majestic entrance). At last! (Advancing and bowing.) 
Madame ! 

Jennie. Sir! (To Pauline, who crosses towards door, r.) Re- 
main, Pauline. 

Bic. Ah, madame, five minutes only — I beg of you — just five 
minutes. 

Jennie. But, sir 

Bic. You will not repent it. 

Jennie (aside). What should I fear, after all? He appears strange, 
but not dangerous. (To Pauline.) You may go, Pauline. 

[Exit Pauline, c. 

Bic. Whatever I may appear, madame, I have at least one of 
the qualities which distinguish superior men — I have only one, per- 
haps 

Jennie. And that is 

Bic. I am stupid with the ladies. 

Jennie. Sir ! 

Bic. Ah ! you will not believe me : thanks — but I will soon con- 
vince you of it. My name is easy to pronounce — James Bicoquet. 
My age — thirty-four years. As to my fortune — it is sufficient. 
Fifteen years ago, it would have passed as quite handsome, but to- 
day — in modern Paris 

Jennie. I beg your pardon, sir, but 

Bic. Madame ! 

Jennie. You said this interview concerned a matter which in- 
terested me particularly. 

Bic. Yes, madame ! 

Jennie. And I would like to know. 

Bic. What ! Immediately ? 

Jennie. Yes ! Immediately ! 

Bic. I will not conceal that I intended to keep it until the last — 
but since you seem to desire it — your husband deceives you, 
madame ! 

Jennie. Sir ! 

Bic. You are the most interesting and most unhappy of lovely 
wives — your husband deceives you ! 

Jennie. Sir ! Sir ! 

Bic. At this moment, even, he is above. (Points to ceiling.) 

Jennie (looking at ceiling). Above? 

Bic. Yes, above, with the little actress on the second flight. He 
is just sitting down to a game of Bezique — and he is losing, f I can't 
see the cards — but for all that, I'll wager that he 1 ases. 

Jennie (fiercely). Proofs, sir — proofs! 



Bic. Do you ask for proofs? 

Jennie. Yes ! 

Bic. Very well. (Shows the hat which he holds in his hands.') 
Look at this, madame ! Have the kindness to look. (Puts hat on 
his head, which disappears completely.) 

Jennie. Well ? 

Bic. Well — don't you see ? ( Takes off hat and holds it in his 
hand.) 

Jennie. What does that prove ? 

Bic. That — that proves it is not my hat. It proves it belongs to 
Mons. Paul Gaillard. (Shows inside of hat.) P. G., madame — 
P. G.! 

Jennie. Too true ! 

Bic. Ten minutes ago, madame, 7 was above there. What a 
recollection — and I was forced to leave to make room for your 
husband. Instead of taking my own hat, I took his, and I have 
brought it to you. Are you convinced now? Is the proof suffi- 
cient? (Puts hat on table.) 

Jennie (falls, overwhelmed, on sofa near work-table). O heavens ! 
can this be true ? 

Bic. (melancholy, and taking chair r. of table). Every evening, at 
nine o'clock, I come and sit near her. (Sits.) 

Jennie. But, sir! 

Bic. (firmly, and rising). Ah! Now that I have proved that I 
really have something interesting to say to you, I hope that you will 
have the goodness not to interrupt me, and that you will allow me 
to relate my little story. (Reseating himself, sadly.) Every even- 
ing, at nine o'clock, I come and sit near her. " Good evening, 
To-to," I say to her. " Toto " diminutive for Antonia. " Good 
evening, Co-co," she replies. " Coco " diminutive for Bicoquet. 
" How de do, Toto." " O, not badly, Coco; bring out the cards." 
And then I bring out the cards, and the play commences. Forty for 
the trump — one hundred for the ace — two hundred and fifty — five 
hundred. O ! so complete, so intense a happiness, could not last. 
A week ago I came — I rang — and the servant stopped me, and 
said : " You must not enter, sir — madame is with her godmother from 
Normandy." I went away without a word. The next day I re- 
turned. The godmother was again there. The next day the god- 
mother was there still, and I became suspicious. I played the spy, 
and I discovered that this godmother, who had taken my place, and 
interrupted my happiness, was 

Jennie (angrily). My husband! My husband with that woman? 

Bic. (approaching his chair). If we leave him there 

Jennie (rising, and crosses quickly) . What did you say ? 

Bic. (rising). I can see but two solutions to the matter. If your 
husband keeps my place, that he has taken — why, then, I must take 
his. (Sadly.) Every evening, at nine o'clock, I will come. 

Jennie (indignantly). Sir! what do you mean? 

Bic. I know it's rather strange ; but if you were a true Parisian, 
say of 1852 — you see — I do not complain. In the first place, I 



BOUQUET. 7 

have one flight up stairs less to climb, and also you are far more 
pretty than — (suddenly} have you any cards ? 

Jennie {very indignant). Sir, leave the room instantly ! 

Bic. No ? that does not suit you. Well, then, the second solution 
is — we must call your husband down. 

Jennie. Ah ! I much prefer that. 

Bic. When he comes down, I will go up. It's very simple, and 
everything will be proper. Gaillard here — Bicoquet there. (Points 
above.) Yes, we must call your husband down. 

Jennie. I ask nothing more — but how ? 

Bic. As you wish. 

Jennie. Give me an idea. 

Bic. (violently). And why should I furnish you with ideas. It 
seems to me that you are interested as much as I. 

Jennie (equally violent). And how can I, in the state of excite- 
ment in which I am ? 

Bic. (still more violent). Well, madame, and I. Do you suppose 
that I am not excited myself? So much so that I could scream — if 
I did not think it too familiar for a first visit. (Sound of piano and 
singing heard overhead.) There ! hear that? (The voice stops and 
air continues — Bic. sings.) La — la — la ! 

Jennie. What has happened to you ? 

Bic. That air — I remember it. She always sings so when she 
wins. Ah! (Sings.) La — la — la! I assure you, madame, that 
if that air continues, I shall certainly scream. (Goes behind table 
and screams.) 

Jennie (crosses quickly to fireplace). I beg of you to remain quiet, 
sir. (Rings.) 

Bic. Do you turn me away, madame ? 

Jennie. No ; an idea has just struck me. 

Bic. To call him down ? 

Jennie. Yes. 

Enter Pauline, c. 

Pauline (at door, a). Madame? 

Jennie. Go up stairs, one flight, to Mademoiselle — (to Bic.) 
What name did you say, sir? 

Bic. (with an effort). Antonia Brunet. 

Jennie. To Mademoiselle Antonia Brunet. You must say that I 
am suffering — that Madame Gaillard is suffering. Be sure and 
pronounce the name distinctly — and that the music makes me 
worse. 

Pauline. Is madame ill? 

Jennie. Yes — no — what matters it to you ? Go — the name — 
don't forget — Madame Gaillard — say the name loud and distinctly 

— scream so that all can hear you. * [Exit Pauline, c. 
Bic. I understand you. You count upon his heart. 

Jennie. And I am not wrong, for he is good ; and when he knows 

— when he believes that I am ill 



8 BOUQUET. 

Bic. He will come down. It's possible, after all. (Music stops.) 
There, the music stops. The errand is done. 

Jennie. Quick, then ! Go, sir — go ! 

Bic. O ! we have five minutes still. 

Jennie. He has only one flight to descend. 

Bic. Ah, you don't understand your husband, madame — you 
don't know him. He is an adept at deception. 

Jennie. How ? 

Bic. Do you imagine that he will come directly here, at the risk 
of being caught? No, indeed! This house has two doors — one to 
the Rue de la Porte, and the other to the Rue Lafayette. Don't you 
see? Mons. Gaillard will descend the back stairs, pass around the 
house — enter the front door — leisurely ascend the front stairs. It 
will take at least five minutes. Allowing that his anxiety for your 
health should quicken his steps to-day, he ought to be now — (looks 
out of window.) What did I tell you, madame? Here he is ! 

Jennie. Take care, he may see you ! 

Bic. No fear, madame ! (Draws back from window, still look- 
ing.) He has my hat in one hand, and a bouquet in the other. 

Jennie. A large bouquet of roses ? 

Bic. Yes. 

Jennie. I asked him to buy me one. 

Bic. (laughing and coming down front). You asked him to — 
ha ! ha ! He is an adept. Why, I recognized that bouquet. 

Jennie. You recognized it? 

Bic. Perfectly. The very moment that I came out from above, there, 
a great brute of a servant brought it in the name of young — what d'ye 
call him — no matter who. Your husband bought it of mademoi- 
selle's maid, who appropriates all the bouquets. 

Jennie (indignantly). O! 

Bic. But here he comes, madame — I must go. Adieu, madame. 
(Crosses to table.) 

Jennie. Adieu, sir. Do be quick. 

Bic. I leave you your husband's hat, madame. He will bring you 
mine, which you will have the kindness to send to me — will you 
not? 

Jennie. But where, sir? 

Bic. Where? Why, above, certainly. Where do you think I am 
going? 

Jennie. Very well, sir. It shall be sent to you. 

Bic. And, I beg of you, give orders that it shall be delivered to 
the servant who opens the door. It will not be necessary to call me 
personally. (False exit, c.) 

Jennie (stopping him). This way, sir. Pauline will show you 
out. 

Bic. Adieu, madame — perhaps we may never meet again. 

Jennie (aside). I certainly hope not. 

Bic. Adieu — be happy — as for me — I will try — adieu, madame. 

[Exit door, k. 

Jennie. First, I must conceal the hat. (Opens door, r., and puts 



hat in her room.) And now for my revenge. At first I must be 
sweet, and patient, and hypocritical. That will throw him off' guard, 

and then (while speaking, she has seated herself as before the 

entrance of Bic.) 

Enter Gaillard, c, with bouquet and hat in hand. 

Gail. Suffering? What can be the matter ? (Puts hat on table, 
and also bouquet.) 

Jennie (sighs'). Ah! 

Gail. Jennie, dear Jennie ! 

Jennie (sweetly). Is it you, my dear? I thought that you would 
not return till half past ten or eleven, as usual. 

Gail. Yes ; but when I am away from you, you know 

Jennie. You are always kind. But the stocks, and the money 
market — you must not neglect them. 

Gail. O ! I was going to tell you — I have been in luck — I had 
the good fortune to meet Mons. Magimel. 

Jennie (sadly). Is he well? 

Gail. Quite well; and he gave me all the information that I 
desired. So I had an opportunity to return quickly. 

Jennie (sarcastically) . Quickly ! 

Gail. Yes, as quickly as I could ; and that is why 

Jennie. You took time to purchase a bouquet, however. 

Gail. You knew I would, since you requested it. 

Jennie. Give it to me. 

Gail, (presenting bouquet)'. Isn't it pretty? 

Jennie (takes bouquet and crosses). It's superb — it must have 
cost you dear. 

Gail, (thoughtlessly). Yes, it cost me two hundred francs. 

Jennie. Two hundred francs ? 

Gail, (recovering himself). Twenty francs — I meant twenty 
francs. 

Jennie (examining bouquet, and putting it on piano). Did you 
buy it at the opera ? 

Gail, (embarrassed). No, I bought it in the Rue Lafitte. Magimel 
and I, while chatting, strolled to the Kue Lafitte, so while I was 
there (Aside.) It's lucky I noticed the florist's address. 

Jennie (aside). " Coco " was right. He is an adept. 

Gail. And now that I've returned so soon, I must tell you 
frankly 

Jen nie. Frankly ? 

Gail. Why, yes. I had a presentiment — just now — that is, 
when I left you this evening — it seemed to me — I thought I saw — 
that you did not look as well as usual. 

Jennie. What, am I ugly? 

Gail. How can you say such a thing — you were very handsome 
— you always are — but you seemed a little — you are not ill, are 
you? Have you been ill since I went away? 

Jennie. Yes. 



10 BOUQUET. * 

Gail. Ah ! my heart told me so. What is the matter, Jennie ? 

Jennie. I cannot tell you — a little nervous. 

Gail. Yes — I'm so sorry. 

Jennie. I was nervous a quarter of an hour ago, and I did some- 
thing that I am afraid you will scold me for, if I tell you. 

Gail. No, no ! I will not scold. 

Jennie {cutting her words) . The person who lives overhead — do 
you know who that person is ? 

Gail, {slyly). Who lives overhead? 

Jennie. Yes. 

Gail. (same). A marine insurance agent, I believe. 

Jennie (observing him). No, I mean a lady. 

Gail. (same). An old lady? 

Jennie. No, a young lady — she sat down to the piano just now 
and began to sing — I don't know what she was singing — but I was 
so nervous, so excited, that I could not contain myself. I sent 
Pauline to request this lady to discontinue her song. Was I wrong ? 

Gail. No, you were perfectly right. 

Jennie. Thanks, you are very good. (Takes bouquet, and crosses 
to table.} 

Gail. Where are you going ? 

Jennie. To carry this bouquet into my room. (Stops at table, and 
takes up B.'s hat.) Why, what kind of a hat have you got? (Ex- 
amining it.) That isn't yours. 

Gail. What — isn't it? (Tries on hat, which is too small.) No, 
it is not mine. 

Jennie. Let me see it. (Takes it.) No, nor it isn't Magimel's. 

Gail. Indeed. 

Jennie (shows him inside of hat). J. B., my dear — J. B. That 
doesn't stand for Magimel. 

Gail, (after having looked into hat — confused). No, it's not 
Magimel's. I didn't say that it was, did I. 

Jennie. No, you did not say so ; but if it does not belong to him, 
whose is it? 

Gail, (thinking a moment — both come forward same order). Ah ! 
I know. The explanation is very simple. It could not be simpler, 
and at the same time it is quite comical. (Forced laugh.) 

Jennie. But tell me, and let me enjoy it. 

Gail. Yes, but it's so comical. You see, I was in a hurry to re- 
turn here — anxious on your account, my dear — and I ran. Well, 
as I was running, I encountered a gentleman who was also running 
in an opposite direction. You are listening to me ? 

Jennie. Yes. 

Gail. Now just let me show you — to make it more clear. (Bus. 
of running against man — crosses, r.) You see the two hats were 
thrown upon the ground — one here, the other there. I picked one 
up, without looking, apologized to the gentleman, and as I was in a 
hurry, I came away with a hat which did not belong to me. (Forced 
laugh.) You see it's very simple. 



BOUQUET. 11 

Jennie. Yes, yes — I see. (Aside.) He is decidedly an adept; 
but I will force him to acknowledge yet. 

Gail, (examining hat). But I've made a good exchange. This is 
newer than mine. 

Jennie (takes bouquet which she has left on table). I will be back 
in a moment, my dear. I am going to carry my bouquet into my 
room. Now don't run away while I'm gone — will you? 

Gail. Could you believe such a thing? 

Jennie. I will return immediately. [Exit door r., with bouquet. 

Gail. Stay here ! I think I will. She nearly caught me that 
time — and all on account of that miserable hat. Yes, my wife is 
pretty, sweet, and agreeable, and the best thing I can do is to stay at 
home and take care of her. 

. Enter Pauline, c. 

Pauline. A letter, sir ! 

Gail. A letter? 

Pauline. -From the lady above, sir. 

Gail, (dissimulating) . The lady above — I don't know her ! 

Pauline. Possibly, sir ; but she sent you this letter. 

Gail, (taking letter) . She does wrong to write to me — very 
wrong. 

Pauline. But she said that it must be delivered to you, even if 
madame were present. 

Gail. Did she say that? 

Pauline. That's what she said, sir. 

Gail, (flattered) . Jealousy ! But still she is wrong, and I am 
astonished at such conduct on the part of so distinguished a person. 
(Opens letter and reads.) "You old thief." What? (Reads 
again.) " Old thief, I know that my servants read all my letters, 
so I will put nothing in this which will compromise you." (Spoken.) 
Thief, indeed ! (Reads.) " I suppose that you understand me. If 
you are not in my room in five minutes, I shall know what action to 
take. Yours — or rather wanting my own — Antonia." (Repeats.) 
" I suppose that you understand me. If you are not in my room in 
five minutes, I shall know what action to take." (Spoken.) This is 
some joke, but I really don't understand it. 

Pauline. Well, sir. 

Gail. What? 

Pauline. W hy, the reply — she is waiting. * 

Gail. There is no reply. 

Pauline. Very well, sir. [Exit, c. 

Gail, (to Pauline during exit). Say it very politely — add that I 
laughed very much. (Returns down, c.) That will please her, and 
I do not wish to offend her — but it is a strange joke. I cannot un- 
derstand it. There ought to be some point to a jest. For instance, 
if you were to approach a gentleman whom you don't know, and ask 
him to hold one end of a long string, and then ask another gentle- 
man, whom you know just as little, to hold the other end — and then 



12 BOUQUET. 

walk quietly away. Now that is a good joke, but simply because 
there is some sense to it. (Looks at letter,) But that ! (Finishes 
his monologue at r.) 

Enter Pauline, c. 

Pauline. Sir ! Sir ! 

Gail. Well, what is the matter ? 

Pauline. That lady 

Gail. Another letter ? 

Pauline. She says that you have only three minutes, and that if 
you don't come up, she'll come down. 

Gail. Well, tell her that I cannot come — that I am seriously en- 
gaged. Yes — very seriously — in trying to keep quiet. She takes 
me for a fool, but she is mistaken. 

Pauline. Well, sir! {Exit, c. 

Gail, (same business for exit). Tell her so very politely. Now 
what kind of a scrape am I getting into ? Is she really capable of — 
What in the world are we coming to, if a man cannot make a mis- 
take in a flight of stairs without 

Pauline (enters hurriedly, c). Sir ! Sir ! 

Gail. Well? 

Pauline. She says you have only two minutes, sir, and she is 
putting on her gloves. 

Gail. Well, what of it? 

Pauline. I don't know what has happened, sir, or what she ac- 
cuses you of — but she spoke to me about sending for the police. 

Gail. The police? 

Pauline. Yes, sir. 

Gail, (furious). What the devil can be the matter with the 
woman? What can she mean? 

Pauline. I'm only a poor girl, but if I were to advise you, sir, 
you ought to speak to that lady. There is but little time, sir. 

Gail. Yes, yes — I'll go. But tell her so politely. 

Pauline. Well, sir. [Exit. 

Gail, (puts Bic.'s hat on head — seeing that it does not fit, he 
throws it down savagely on table). What's that now? Must I be 
bothered all my life with that hat? 

Enter Jennie, r., with Gail.'s hat, which she holds behind her. 

Jennie (extremely dignified). And now, my dear, I hope you will 
explain to me how your hat (Presents his hat.) 

Gail, (taking his hat and putting B.'s on table). Ah! thank you. 
(Puts it on.) Just in time. (Opens door, c.) 

Jennie. What, are you going out? 

Gail. Yes 

Jennie. Why ? 

Gail. I will explain by and by. [Exit. 

Jennie (down a). And just as I came in with his hat to confound 



BOUQUET. 13 

— to overwhelm him. And I had prepared such a pretty lecture, 
and at the end of the lecture a pardon prettier still. {Furiously.) 

But now 

Enter Bicoquet desperate. 

Bic. They've turned me out, madame. 

Jennie. You ? 

Bic. Yes ! This time they turned me out! 

Jennie. You here again, sir? 

Bic. Ought you not to expect it, since you have let him go up 
there again? It's your fault. Why didn't you keep him? 

Jennie. Is my husband up there? 

Bic. He is madame ! So naturally — I 

Jennie. Proofs, sir, proofs ! 

Bic. I anticipate them. {Showing Gail.'s hat.) Look at that 
hat. 

Jennie. His hat again ? 

Bic. Precisely. 

Jennie. This is too much! 

Bic. {putting hat on table). And as mine is no longer above, your 
husband will have to come down bareheaded — when he comes. 

Jennie {exasperated). And he hadn't been back five minutes — 
only five minutes. 

Bic. How can you help it, madame? Your husband is in- 
fatuated. 

Jennie {falls into chain., of table. — Angrily, to herself). And he 
is there again. {Points above — rises.) 

Bic. Yes, madame, he is there, over our heads. {Indignantly.) 
And the floor doesn't open to swallow them. {Listening.) We 
can hear footsteps. 

Jennie {preoccupied). We must call him down again, sir. 

Bic. That's been my sole object since the commencement of our 
acquaintance ; but how ? 

Jennie. When she sang just now, we heard her. So if we sing 
here, they must hear us above. 

Bic. Very probably, madame,. sound having one quality in com- 
mon with your husband — it ascends. 

Jennie. Then sing, sir. 

Bic. I? 

Jennie. Certainly ! It must be a man's voice. Don't you under- 
stand? Jealousy. 

Bic. But you see I am always enveloped in a blanket for twelve 
hours before I attempt to sing; and this evening I did not ex- 
pect 

Jennie. What difference does it make, provided you sing loud, 
and that you make noise enough? 

Bic. If madame will have the goodness to get me some blankets, 
I will wrap myself up, and perhaps in twelve hours 

Jennie. No, no! Now — immediately! Come ? conie ! {Sits at 
piano.) 



14 BOUQUET. 

Bic. You see, madame, that my style of music 

Jennie (strikes chord). You are losing time. Quick, quick! 
(Bic. sings. — Enter Gail, frightened, with gray hat on his 
head. On his entrance, Jennie rises with dignity. Bic. strikes 
an attitude. Gail, pays not the least attention to them.') 

Gail, (frightened). It wasn't a joke. She was on the point of 
sending for the police. Ten thousand francs. There were ten 
thousand francs in the bouquet. Ten thousand francs sent by young 

— what's his name ; and she accuses me of having stolen them. 
(Notices Bic.) Ah! 

Jennie (to Gail.). Allow me to introduce Monsieur Bicoquet. 

Gail. Well, yes — by and by. But the bouquet first. What 
have you done with the bouquet that I just gave you? 

Jennie. That bouquet! Do you dare to speak of it? 

Gail. It is in your room, is it not? 

Jennie. No, sir ; it is not in my room. I threw it out of the win- 
dow. 

Gail. What? When? 

Jennie. I threw it away, sir ; because I knew where it came from. 
Do you understand, sir? I know all 

Gail. You have thrown it away! (Enters precipitately into 
Jennie's room, r.) 

Jennie (disappointed). Did you ever see anything like it? 

Bic. (quickly). Did you notice, madame? It is impossible that 
you should not have noticed. He had a hat 

Jennie. No; I was too much occupied. - 

Bic. But the hat was gray. 

Enter Gaillard, r. 

Gail, (crosses to door, p., and calls). Pauline! — don't she hear? 

— Pauline ! 

Jennie (exasperated). O, what shall I do? 

Enter Pauline, who keeps near door, q. 

Gail. Quick ! Run down and ask the porter if he has picked up 
a bouquet which was thrown from the window. 

Pauline. Yes, sir. (Exit, c. — Gail returns down, c.) 

Bic. I think I'd better go up again. (Classes towards c.) 

Gail, (stopping him). Remain, sir, I beg you. 

Jennie (to Gail, who does not listen). In a quarter of an hour; — 
pay attention to what I say, sir ; — in a quarter of an hour I'm going 
to leave this house, to find a refuge with my aunt. You will never 
see me again. Don't try to defend yourself — it will be useless. 
Send Pauline to me when she returns. (Bursts into tears, and exit 
door, r.) 

Bic. (to Gail). Well, sir? 

Gail, (to Pauline, who enters). Well? 

Pauline. The porter has not seen the bouquet, sir. 



BOUQUET. 15 

Gail. Very well. I will attend to the rest. Go to your mis- 
tress' room — she wants you. [Exit Pauline, k. 

Bic. (heroically). Yes, sir, I acknowledge it; it's all true. You 
have stolen my happiness along with the woman I love; and I, in 
return, have stolen 

Gail. 0, bother that at present. Bicoquet, I believe — 

Bic. James Bicoquet. 

Gail, (crossing to secretary, r.). Yes, yes, all the same to me. 
(Aside.) I must pay somehow. (Taking money -drawer from the 
secretary, and putting it on table, pushes off hats with the drawer.) 
In the drawer, 4950 francs. In ray portemonnaie and in my pockets 
(counting money), 627. (Feels in all his pockets.) What is this? — 
some sous — 627 francs 30 sous. (Figures in pocket-book.) That 
makes 5577 francs 30 centimes. Not enough to pay ten thousand. 
(Calculating.) The remainder is — (To Bic.) Have you 4422 
francs 70 centimes about you? 

Bic. 4422 francs ? 

Gail. Yes, and 70 centimes. If you have it, lend it to me. 

Bic. (explosively). Well, and I should like to know why? 

Gail. Why? 

Bic. Yes. 

Gail. Because there are situations in which a man of pleasure 
always expects another man of pleasure to have 4000 francs about 
him. I am in one of these situations. There were 10,000 francs 
in the bouquet. 

Bic. O! 

Gail. Yes, and she demands them, and accuses me of stealing. 
You understand that I cannot go and tell her that my wife threw the 
bouquet out of the window. I must pay them — not to-morrow, nor 
in an hour, but immediately. 

Bic. (much interested) . Yes, I understand. 

Gail, (shaking his hand). Then lend me the money. 

Bic. How much did you say — 4000 francs ? 

Gail. 4422 francs 70 centimes. 

Bic. (slowly counting on his fingers). 4422 francs 70 centimes. 
I haven't got it. 

Gail, (angrily). Then why didn't you say so at once. How much 
have you got ? Have you any money at all ? 

Bic. (drawing money slowly from pocket). I have. 43 francs 25 
centimes. 

Gail. Let's have them. (Figures in look.) That makes 5620 
francs 11 sous. Haven't you any more? Look. 

Bic. (low, and trying to conceal some bills, which he shows to au- 
dience). I have still a note for 1000 francs, and one of 500 — 
but 

Gail, (who has heard). Give them to me. (Snatching them.) 
Are you afraid?" I am known, sir ! (With pride.) I have a name 
on change. I am one of those who pay, sir; who always pay — till 
just this moment. 

Bic. Listen to me, sir. I hate you ! 



16 BOUQUET. 

Gail. Well, sir; and I. Do you think that after having discov- 
ered you in a te'te-a-tete with my wife at this hour, that I don't 
intend to ask an explanation? But not now, sir; not now. How 
did the figures stand ? 

Bic. (furious). I know nothing about it. 

Gail, {equally furious). Well, sir, I'll tell you — 7120 francs 50 
centimes. (Calmer.) Who shall I apply to next? My wife? She 
will profit by the occasion to inform me she has run into debt. Ah, 
the chambermaid ! (Rings.) Pauline! Pauline! (Enter Pauline, 
r.) Why don't you come sooner when I ring? 

Pauline. But, sir, I was with madame. She doesn't know which 
dress to put on to seek a refuge with her aunt. 

Gail. With her aunt? s 

Pauline. Yes, sir. Is it possible that you don't know? 

Gail. Well, well, we'll see about all that immediately. Tell me, 
Pauline, have you saved any of your wages? 

Pauline. I have 500 francs, sir. 

Gail. Go get them for me. At the same time, step in and see tha 
cook — she ought to have saved something also. Ask her for it on 
my account. At the same time get what there is left of the house- 
keeping money. Tell her to give you all the money she has — do 
you understand ? — all she has. 

Pauline. Certainly, sir. [Exit, c. 

Gail, (fumbling in his pockets). You have nothing more left, 
have you, sir ? 

Bic. (impatiently). No, nothing, at all, sir. 

Gail. And to think that all this has happened because there are 
some men in the world foolish enough to send 10,000 francs to a 
woman in that manner 

Bic. Little what's-his-name 

Gail. And he calls himself a gentleman. Instead of employing 
his fortune nobly — or rather — I mean instead of keeping his 10,000 
francs — (Fumbling in pockets.) You are quite sure that you have 
nothing left, sir? • 

Bic. But I told you, sir 

Enter Pauline, c, napkin in one hand, with her savings, and 
pitcher in the other, in which are in silver the savings of the 
cook. 

Pauline. Here are my 500 francs, sir. (Gives napkin to Gail., 
who passes it to Bic. — Gail, figuring all the time.) Here is the 
house money — 259 francs 90 centimes ; and here are the cook's 
savings — 1950 francs. 

Gail, (book and pencil in hand). 1950 francs saved, and she has 
been here four months ; and when she came she hadn't a sou — twice 
her wages. Well, I'll reserve it. Pauline, put it all there. (Points 
to table.) 

Pauline. The cents also, sir? (Goes to table.) 

Gail. Everything — all. Put it all there. 



BOOQUET. 17 

Pauline. Here it is, sir. (Spills money from pitcher into 
drawer, and exit. Bic. picks up what money has fallen on table 
and floor. Gail., calculating, crosses, r., and they are on each 
side of table.) 

Gail, {figuring'). How much does that make, in all — that makes 
9823 francs 45 centimes. I must carry her that. Haven't you any 
more money about you ? 

Bic. {sitting r. of table). Listen to me. I hate you. 

Gail, {still figuring). So you told me ; but that is all reserved. 
I keep that back along with the cook's savings. 

Bic. {grandly). I hate you. But I cannot see a gentleman in 
such perplexity without doing all I can to extricate him. {Rises, 
and takes piece of money from the pocket of his waistcoat.) 

Gail, {aside). I knew he had something more. 

Bic. {passes piece). There, take it. 

Gail. I was sure of it. {Examines piece.) What is this — 
twenty sous ? 
i Bic. {nobly). A piece with a hole in it — a keepsake — and I give 
it to you. 

Gail. Well, that makes 9824 francs 45 centimes. {Puts the sum 
into his handkerchief. — The money ought to be composed of the 
oddest kind of money.) I will carry her this ; and if she is not satis- 
fied, I will offer her your watch. [Exit, c, with money. 

Enter Jennie, r., dressed to go to her aunt. 

Jennie. Is he gone? 

Bic. {who has picked up hats, and replaced them on table). Come 
in, madame, come in. Have no fear. We need trouble ourselves 
no longer. I have lent him money. 

Jennie. Where is he now? 

Bic. Need you ask? 

Jennie. Again ! ! ! 

Bic. He took a large sum of money — bank-notes, gold, silver, 
and my twenty sous piece — wrapped them all in a handkerchief, 
and carried them all to her. 

Jennie, {pulling on gloves furiously). To my aunt's immedi- 
ately. You will conduct me there, sir ? 

Bic. O, certainly ; with pleasure. Where does she live, madame ? 

Jennie. At Bambouillet. 

Bic. At Bambouillet? {Suddenly recollects that he has no money.) 
O, goodness ! 

Jennie. Well, what is the matter. 

Bic. {in despair). Just my luck. For once in my life I have a 
chance to run away with a married woman, and — I've lent the hus- 
band all my money. 

Jennie. What did you say, sir? 

Bic. But that makes no difference. We will walk; and when we 
are tired we will take turns in carrying each other, so that one of us 
will be resting all the time. 
2 



18 



Enter Gail, with a cap under his arm. 



Gail, (to audience). She refused the watch. She has some good 
traits left. 

Bic. (taking cap from him). Allow me to relieve you, sir. I 
will put it with the others. 

Gail, (astonished). What's that? 

Bic. There must be a hat factory up stairs. (Examines cap, and 
puts it with others.) 

Jennie. Another one ! 

Bic. Well, it's all the same to me. I've sworn never to love 
more. 

Gail, (to Jennie). And where are you going now, my dear? 

Jennie (dignified). I am going to my aunt's. This gentleman 
will accompany me. 

Gail. This gentleman? 

Jennie. Yes, sir — the only protector I have left. • 

Gail, (amiably). But he cannot accompany you. since they are 
expecting him up stairs. 

Bic. Expecting me? 

Gail, (low to Bic). And this time I swear I will not disturb you 
again. 

Bic. Waiting for me ? What strange people we men are. Now 
that she's waiting for me, I've no desire to go. (Looks at watch.) 
Twenty minutes after twelve. I think the best thing I can do now 
is to take a carriage and go home to bed. Yes — (saluting with 
Gail.'s hat, to Gail.) — I was going to take your hat again — the 
force of habit. (Takes his own hat.) Once more, adieu. Remem- 
ber me — I'll remember you. 

Gail. Good night, sir. (Exit, Bic, c — Gail, passes him out. 
— Jennie crosses, l.) 

Gail, (near Jennie). Well, Jennie, dear. 

Jennie. Well, what? 

Gail, (caressing). You heard what the gentleman said. It's 
twenty minutes after twelve, and 

Jennie. After what has passed, do you dare hope ? 

Gail. Do you really mean to leave me? 

Jennie. I don't wish to make any scene, because it spoils my 
complexion to weep. But as for pardoning — never ! 

Gail. Never? 

Jennie. Never ! Never ! ! Never ! ! ! 

Gail, (coaxing). Never is a long time, and 

Jennie. Well, there, I want to be good, and I will forgive you 
when 

Gail. When what? 

Jennie (laughing). When you bring me back this bouquet — this 
famous bouquet — which has cost you 

Gail, (bitterly). 10,000 francs. 

Jennie. 10,200 francs, my dear. 



BOUQUET. 19 

Gail. Yes — that's very true. I forgot the 200. {Door bell rings 
violently.) 

Jennie. Who can that be now ? 

Bic. appears at the door, the bouquet in his hand. 

Bic. Here's the bouquet ! Here's the bouquet ! 

Gail. The bouquet? Yes. Come in, come in. 

Bic. (entering). I declare, if this story should be related in any 
paper, nobody would believe it — and still it's the truth. A coach- 
man was passing the door 

Gail, (looking at bouquet). Just permit me to see the letter. It 
is there. You may go on now, sir. 

Bic. A coachman was passing the door. I stopped him, and told 
him to take me home. " If it's all the same to you," said he, 
" would you like an adventure? Let us walk up and down before 
this house." His language made me suspicious — the more so that, 
while speaking, the coachman pressed to his heart, and covered 
with kisses, a bouquet that I seemed to remember. " Where did 
you get those flowers ? " said I to him, in tones of authority. " Just 
now a lady threw them to me out of the window." He had 
scarcely finished, than I seized the bouquet, and rang at your door. 
Now, sir, take it. 

Gail, (takes bouquet). The letter! Here it is — attached with a 
pin. Young what's-his-name gives a great deal of money to women 
— but he is orderly in his habits. 

Jennie. Quick, my dear, quick ! 

Gail, (taking letter, and giving bouquet to Bic). "Mademoisselle 
Antonia Brunet " — that s the one. (Opens the letter.) How's this ? 
— no money. (Reading.) " My dear girl, I am glad that you applied 
to me for the 10,000 francs, but unfortunately I cannot send them at 
present. I regret — " (Furious.) And this man calls himself a 
gentleman. A lady applies to him for 10,C00 francs, and he doesn't 
send them. (Reading.) " I regret it exceedingly — " (Spoken.) And 
I, too. (Reading.) "But to show you that 1 still think of you, I 
send " 

Jennie. You see he sends something. *• 

Gail, (finishing the letter). "I send you a front seat for the 
theatre." 

Jennie. Just what I wanted this evening. 

Gail. Yes ; but where is this ticket ? 

Bic. (taking ticket from bouquet). Here — attached with a pin. 

Gail. He don't send any money to women — but his habits are 
orderly. 

Bic. (examining ticket). Unfortunately it's for this evening, 
and it's now a half hour after midnight. 

Jennie. O, dear ; how unfortunate ! 

Gail, (takes ticket, and examines it at arm's length). 10,000 
francs. 

Bic. (to Gail, and glancing at Jennie). I will not profit by your 



misfortune to disturb you, sir, but you owe me 1543 francs 25 cen- 
times. Now, if you wish, you may pay me twenty sous a day. 
Every day, for 1548 days and a quarter, I will visit madanie, and she 
shall give me a franc at each visit. 

Gail, (gayly). You are pleased to be facetious, sir. You shall 
have your money to-morrow. (To Jennie.) To-morrow evening, 
my love, we will go to the theatre. 

Jennie. But you can't afford it after this expense. 

Gail. Well, it's only 10,000 francs, after all. (Enthusiastically.) 
If the news continues to be bad for a week I can easily regain that. 

Bic. Till to-morrow, my friend. [False exit. 

Gail. Till to-morrow. But one thing, my friend, I hope you 
will promise me. 

Bic. And what is that ? 

Gail. Promise me not to return again this evening. 

Bic. I promise you. But there is still one thing more. There 
are two gentlemen waiting outside. 

Gail. Two gentlemen? 

Bic. Yes, two gentlemen — who have just left up stairs, and 
who cannot go away, because their hats are here. I entered 
alone, but, if you wish, I will call them in. 

Gail. No, no. 

Jennie takes gray hat and cap, and carries them to Bic. 

Bic. Thanks. And to repay you for the pleasure of the evening, 
I shall take the earliest opportunity of sending madame a " Bouquet." 

Gaillard. Jennie. Bicoquet (with hats in hand). 



t 



SPENCER'S UNIVERSAL STAGE. 


He. 32. THE CHRISTENING. A 


No. 47. 


east lytote. A Drama In 


Faroe in One Act, By J. B. 




Five Aots. 8 Male, 7 Female 


Buokstone. 6 Male, 6 Female 




char. 


thai. 


" 48. 


THE HIDDEN HAND. A 


M 33. A RACE FOR A WIDOW. 




Drama in Five Acts. Br Rob* 
ert Jones. 16 Male, 7 Female 


A Faroe in One Aot. By Thos. 




J. Williams. 6 Male, 4 Female 




char. 


ehar. 


" 40. 


SILVERSTONE'S WAGER 


«• 84. TOUR LIFE'S IN DAN- 




A Comedietta in One Act. 


GER. A Faroe in One Aot. 




By R. R. Andrews. 4 Male, 3 


By J. M. Morton. 3 Male, 3 Fe- 




Female char. 


male char. 


M 60. 


DORA. A Pastoral Drama In 


j " 86. TRUE UNTO DEATH. A 
Drama in Two Aete. By J. 




Three Acts. By Chas. Reade. 
5 Male, 2 Female char. 


Sheridan Knowles. 6 Male, t 


" 81. 


BLANKS AND PRIZES. 


Female char. 




A Farce in One Act. By Dex- 
ter Smith. 6 Male, 2 Female 


" M. DIAMOND CUT DIAMOND. 




An Interlude in One Act- By 
W. H. Murray. 10 Male, 1 Fe- 


" 62. 


OLD GOOSEBERRY. A 

Farce in One Act. By T. J. 


male ehar. 




Williams. 4 Male, 2 Female eh. 


" 87. LOOK AFTER BROWN. 

A Faroe in One Aot. By Geo. A. 
Stuart, M.D. 6 Male, 1 Female eh. 


" 63. 


WHO'S -WHO. A Faroe In 
One Act. By T. J. Williams. 
3 Male, 2 Female char. 


« 88. MONSEIGNEUR. A Drama 
in Three Acta. By Thomas Ar- 
eher. 15 Male, 8 Female ehar. 


14 64. 


BOUQUET. A Farce in One 
Act. 2 Male, 2 Female ehar. 


« 89. A VERY PLEASANT EVE- 


44 66. 


THE WIFE'S SECRET. A. 


NING. A Faroe In One Aot. 
ByW. B. Suter. 3 Male ehar. 




Play in Five Acts. By George 
W.Lorell. 10 Male, 2 Female 
char. 

THE BABES IN THE 
WOOD. A Comedy in Three 
Acts. By Tom Taylor. 10 


" 40. BROTHER BEN. A Faroe 

in One Aot. By J. M. Morton. 
3 Male, 8 Female ehar. 


" 66. 


" 41. ONLY A CLOD. A Comie 




Male, 3 Female ehar. 


Drama in One Act. By J. P. 
Simpson. 4 Male, 1 Female eh. 


" 67. 


PUTKINS : Heir to Castles 




in the Air. A Comic Drama 


" 42. 6ASPABDO THE GONDO- 




in One Act. By W. R. Emerson. 


LIER. A Drama in Three Acts. 




2 Male, 2 Female char. 


By Geo. Almar. 10 Male, 3 Fe- 






male char. 


" 68. 


AN UGLY CUSTOMER. A 


** 48. SUNSHINE THROUGH 




Farce in One Act. By Thomas 
J. Williams. 3 Male, 2 Female 


THE CLOUDS. A Drama 




char. 


In One Aot. Br Slinffsby Law 
renee. 8 Male, 3 Female ehar. 






« 44. DON'T JUDGE BY AP- 






PEARANCES. A Faroe in 






One Act. By J. M. Morton. 8 






Male, S Female ehar. 






« 46. NURSEY CHICKWEED. A 






Faroe in One Act. By T. J. 






Williams. 4 Male, 2 Female eh. 






- 44. MARY MOO; er, WMlek 






shall I Marry? A Faroe In 
One Act. By W. S. Barter. 3 
Mate, 1 Female ehar. 











@atebQM of §h%n for Jfej 

BY GEORGE M. BA* 



r 0/ "A m a i tt t r Dramas," " The Mimic Stage," "The Social St 




Sylvia's Soldier 
Onck ok a Time 
Down by the Ska , 

BXBAD ON THE WaTBM 

The Last Loaf . 



DKAMAS IN TWO ACTS. 

3 Male, a Female Character*. 



5 t, 3 m 
5 m 3 .. 

DRAMAS IN ONE ACT. 



Stand by tmb Flag . 
The Tempteb 



3 Male Characters. 
. 3 ,, x Female Character. 

FAROES.— Male and Female Characters. 

Ws'n all Tbbtotallxks . 4 Male, a Female Characters 

A Drop too Much . , . . 4 ,, a „ „ 

Thibty Minutes fob Refreshments, 4 »» 3 >• m 

A Littlb more Cider . . 5 „ 3 M „ 

FARCES.— Male Character* oaly. 



Wanted, a Male Cook 

A Sea of Troubles . 

Freedom of the Press 

A Closb Shave .... 

The Great Elixir . 

The Man with the Demijohn 

Humors of the Strike . 

New Brooms sweep clean 

My Uncle the Captain . 



4 Characters. 

. : 

* m 

9 m 

t : 

6 „ 



FARCES.— Female Characters •all*. 

The Greatest Plague in Life 8 Characters. 

No Curb no Pay .... 7 M 

The Grecian Bend 7 „ 

ALLEGORIES.— Arraaged for Mnslo and Tableaux. 

Lighthkart's Pilgrimage 8 Female Characters. 

The Wab of the Rosbs 8 „ ,, 

Thb Sculptor's Triumph t Male, 4 Female Characters. 

MUSICAL AND DRAMATIC ENTERTAINMENTS. 

Too Late for the Train . . a Male Character*. 

Snow-bound ; or, Alonzo the Brave ) . . t?.„,u ri..-M» 

and the Fair Imogens, } 3 .. « Female Character. 

Bonbons; or, The Paint-King 3 - x 

The Peddler of Very Nick . . 7 

An Original Idea i 
Capuletta ; or, Romeo and Juliet I 

Restored J * 



Characters. 

1 Female Character. 



49* Temperance 
The Last Loaf. 
We're all Teetotallers. 
A Drop too Much. 



Pieces. 

The Man with the Demijohn. 
A Little mobb Cideb. 
The Tempter. 



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" Snow-Bound " and " Bonbons," which are 25 cents each. 



